partaker of the 1st ‘impressionist’ exposition:
Léopold Robert
Léon-Paul-Joseph Robert
(1849-1888?)
a vanished artist with a common name
The vanished Léopold Robert:
Léopold Robert joined the first ‘impressionist’ exposition in 1874. Probably he was the same as (Léon-)Paul-Joseph Robert who exhibited at the Salon from 1879-1883. But note the difference between the first names. When you search on ‘Léopold Robert’ you will find information on a Swiss painter called Léopold(-Louis) Robert (1794-1835). Further search shows that there were many artists with the last name Robert. There are hardly pictures to be found of our ‘Robert’ and some pictures attributed to him are disputable. So let us scrape together step by step the limited information that is available on our ‘Robert’.
Léopold Robert joined the 1st ‘impressionist’ exposition in 1874:
One of the partakers of the 1st ‘impressionist’ exposition in 1874, was a ‘Robert (Léopold)’ (R2,p123;R90I,p8). He showed at least 3 art-works (catalogue numbers 159+160). No.160 contained of at least two untitled watercolours*. He also showed an oil painting depicting probably young girls lying in the hay and covered with flowers. This could be painted en-plein-air (but this is unsure) and it looks like something in the middle of a figure painting and a landscape.
- 1IE-1874-159, Jeunes filles dans les foins en fleurs.
(Eng.: Youngs girls in the hay and flowers.) - 1IE-1874-160, Cadre, aquarelles.
(Eng.: picture frame, watercolours)
Robert was not mentioned in the reviews (R90II,p12), but still, he was summed up in 5 reviews as one of the partakers (R90I). In the 1874 catalogue there were two addresses mentioned: Barbizon (Seine-et-Marne; see map) and: Paris, 12, Rue Linné (see map). The first edition of the 1874 catalogue didn’t add prices, as was done with art-works of other artists (R411). Adhémar, nor Moffett, nor Berson, nor Patry/Robbins render a suggestion for a picture he exhibited in 1874 (R87;R2;R90II;R410). I have tried to give an impression of the works he exhibited, see link.
1873/12/31 ‘Robert’, living in Barbizon, was one of the undersigners of the ‘Société des Artistes Peintres, Sculpteurs, Graveurs et Lithographes’ (R410,p103+101;R3,p692)**, the Society that organised the 1874 exposition under a slightly different name: ‘Société Anonyme des Artistes Peintres, Graveurs, Sculpteurs, etc.‘. Claude Monet had asked Camille Pissarro to approach ‘Robert’ for signing, in his letters dated 5 and 11 December 1873*** . This same ‘Robert from Barbizon’ was no.20 in the list of 20+ artists that were potential subscribers of the Société (made probably early 1873) (R415,p360). Note: that Monet didn’t render first names. Catherine Méneux refers to a letter of ‘Léon Paul Robert’ to Pissarro dated 1873/11/19 and sent from Barbizon (R410,p106). Robbins calls ‘Léon-Paul Robert’ the benjamin among the partakers being born in 1849 (his departure was in 1888) (R410,p108+285).
Robert was present at the liquidation of the ‘Société Anonyme des Artistes Peintres, Graveurs, Sculpteurs, etc.‘ 1874/12/17 in Renoir his studio. Later Camille Pissarro had ruled Robert out from exhibiting again. He wrote to Léon-Paul Robert (1880/03/14): ‘… it’s very hard for me to defend your interests, having ruled you out since our first exhibition. We want artists who are firmly committed to departing from official art’ ****.
Sources: R2,p123; R90I,p8; R90II,p12; R87,p253; R1,p316+366; R9,p626; R16,p371; R88I,p764; R22I,p107; R3,p692; R415,p360-368; R410,p101+103+106+108+285; R116I,p166+436; R411.
Note*: Walther (wrongly) writes about exhibiting ’two watercolours’ (R3), but it is not indicated that no.159 was a watercolour and than mostly it is an oil painting.
Note**: Moffett (wrongly) doesn’t include him as a co-founder (R2,p105)
Note***: letters (no.74+75) (R127I,p429;R410,p106;R22I,p107); it is interesting to know if there is more information to be derived from the correspondence with Monet, Renoir and with Pissarro.
Note****: Pissarro/Durand-Ruel refer to Robert as ‘Léon-Paul called Paul’ (R116I,p166+436).
(Léon-)Paul-Joseph Robert exhibited at the Salon from 1879-1883:
In his comprehensive book on Impressionism, Walther only mentions Robert as one of the partakers (R3,p136*). In the Lexicon he renders more information, claiming that he is the same as ‘Léon-Paul Robert’, who took part at the Salon from 1879-1883 (R3,p692). Other sources also refer to our ‘Robert’ as ‘Léon Paul’ (R410,p285;R116I,p166). The first name ‘Léopold’ seems only to have been used in the 1874 catalogue.
The Salon database (iR1) indicates that Robert exhibited at the Salon and it’s successor the Salon de la Société des Artistes Français five years at a row from 1879-1883**. He is mostly called ‘Paul-Joseph Robert’ and in 1879 ‘Léon-Paul-Joseph Robert’. He was born in Bagneux just south of Paris. Robert was a pupil of Bonnat (and of Puvis de Chavannes). All these years he lived at 16, Rue de Navarin, Paris (see map).
- S1879-2565, La présentation à la supérieure.
Eng.: The presentation at the superior. - SdAF-1880-3276, L’entrée dans la danse.
Additional info: 180x150cm. (Eng.: the entry of the dance.) - SdAF-1880-3277, Au cloître.
Additional info: 52x33cm; au salle 26 = non exempts.
(Eng.: At the cloister. Ned.: De kloostergang / de kruisgang.) - SdAF-1881-2025, Portrait de Mlle ***.
(Eng.: Portrait of misses ***) - SdAF-1882-2308, Avant la leçon.
(Eng.: Before the lesson.) - SdAF-1883-2070, A l’école.
(Eng.: At the school) - SdAF-1883-2071, La leçon de danse.
(Eng.: the dance lesson)
It is striking that some of the oil paintings he exhibited at the Salon, seem to depict dancing lessons, which gives an association with Edgar Degas. Mostly figure painting anyway.
It is not known if Robert did admit to the Salon earlier and was rejected or that he exhibited elsewhere.
Sources: iR1; R9,p626; R3, p692; R87; R88I,p764; aR5.
Note*: In the register of persons he renders wrong dates of birth and death: 1794-1835, which applies to the Swiss painter Léopold (Louis) Robert.
Note**: Schurr & Cabanne (R9) mention that he exhibited watercolours, which is not affirmed in the catalogues (iR1).
Léon-Paul-Joseph Robert, family background:
What is known of the family background of our ‘Robert’? It seems that the first name ‘Léopold’ is only used in the 1874 catalogue, so let of concentrate on ‘Léon-Paul-Joseph Robert’ of which the Salon database made clear that he was born in Bagneux.
A tomb at the Père Lachaise cemetery in Paris mentions a ‘Joseph Léon Paul Robert’, who died 1888/09/21 in Alger and was born April 1849*. Anne Robbins mentions that Léon-Paul Robert was almost 40 years younger that Adolphe-Félix Cals, who was born in 1810. In this way he was the Benjamin of the partakers (R410,p108).
Further research is hard because several artists in those days also were named ‘Robert’**.
Sources: (R87,p253; R2,p508; R3,p692; R9,p626; R88I,p764; iR1)
Note*: At the Père Lachaise cemetery in Paris (see iR4) is a tomb ‘de la familles Harmand, Pitou et Robert’, including this inscription: ‘Joseph Léon Paul ROBERT, 39 ans et 5 mois, Alger 21 9bre 1888‘ (see iR6). So this Joseph Léon Paul Robert was born April 1849 and died 1888/09/21 in Alger. This date of birth is the same as our painter and so are all the three first names, so let’s assume our painter is buried in this tomb.
Note**: Geneanet (iR79) renders names of men called ‘Robert’ who were born in 1849 in Bagneux: a ‘Marie Robert’ who died 1912/01/06; ‘Jean Marie’ who died 1904/02/29; ‘Louis’ who died 1914/03/17. Family search doesn’t render a ‘Robert’ born in Bagneux in 1849 (iR67) .
What do sources mention about Léon-Paul-Joseph (Léopold) Robert?
The Getty Institute mentions a ‘Léon Paul Joseph Robert’ born in 1849 and still active in 1883 (iR60). Getty confirms he was born in Bagneux, just south of Paris (iR9;iR17;R9,p626). This is also confirmed by the RKD (iR24), referring to the ‘dictionnaire critique…’ of Emmanuel Bénézit (1999=R76). We have already seen this first name ‘Léon-Paul-Joseph’ in the Salon database (iR1; see above). It is striking that the third first name ‘Joseph’ is added to the ‘Léon Paul’ that Moffett and Walther use. It is even more striking that the first name ‘Léopold’ that is used in the catalogue of 1874, doesn’t return anywhere (except in the name of other painters, who are also called Robert↓).
Schurr & Cabanne write that his partaking in 1874 does not mean that the painter adhered to their vision. They call him a genre painter and mention that his painting ‘La Colonne Vendôme renversée*‘ (musée d’Art et d’histoire in Saint-Denis) is of an impressive Realism (R9). Others also call him a genre painter (R88;R87). But, since there are hardly pictures known that can surely can be attributed to him, I think it is could to be reluctend to make conclusions.
Spiess only mentions him as partaker of the 1st ‘impressionist’ exposition, but doesn’t even mention him in the register (R16,p371). Other sources don’t mention Robert at all, including Adler (R89). An article about vanished French Impressionists can’t give information and calls Robert ’truly vanished’ (aR1=iR35). I hope in the next years there will be more information and works found about Léon-Paul-Joseph (Léopold) Robert.
Note*: It is unsure if this painting really is made by Léon-Paul-Joseph Robert.
Pictures of Robert:
There are some pictures attributed to Léon-Paul Robert, but several are quite disputable.
The picture L’entrée dans la dance has almost the same measures as the picture exhibited by Paul Joseph Robert at the Salon (de la Société des Artistes Français) in 1880. The signature PJ Robert also matches. So, I think this is a genuin painting made by our Robert.
The etch of Kemplen is clearly a reproduction of the painting exhibited by Paul Joseph Robert at the Salon (de la Société des Artistes Français) in 1883, titled À l’école.
The following works are more doubtfull:
I received a picture with a dancing / ballet scene↑ (aR5)*. made aby a Louis (?) Joseph Robert. The dancing / ballet scene is a theme that is similar to works exhibited at the Salon by our Paul-Joseph Robert. It is not sure if this painting was made by our Robert.** So, I will render it just to compare; it is not very finished and so anyway unlikely to have been accepted by the jury of the Salon.
It is unclear by which Paul Robert the painting with the fallen column of Vendôme is made around 1871. There is not a Robert, who has exhibited such a work at the Salon (iR1). Schurr&Cabanne claim it was made by ‘Léon-Paul Robert’ (R9,p626), but I find it doubtfull.
It is unclear of which Robert the woman with the violin is. The signature is not clear to me.
I don’t think that the girl with the dog made by L. Robert and probably made 1815, is made by our Robert.
Note*: At the back with infra red photos one can read the name ‘Louis Joseph Robert’ or something like that; the ‘Louis’ part is the most obscure. When we look at other painters called ‘Robert’↓ there is no one with the first name Louis.
Note**: To be more sure, there should be more study on what paintings were made by the other Robert’s.
Other painters with the last name Robert:
La Gazette (1870/04) mentions 9 artists with the last name Robert (R259).
In 1879 there were 8 other artists with the last name ‘Robert’ at the Salon (iR1).
Schurr & Cabanne mention 8 painters with the last name ‘Robert’ (R9,p626/7):
Léopold Louis (1794-1835; often exhibited at the Salon; painted often in Italy),
Aurèle (1805-1871; Swiss, born in Chaux-de-Fond; received in 1831 a 2nd class medal in genre painting; brother of Léopold),
Alphonse (1807-1880ca; landscapist born in Sèvres; received in 1831 a second class medal in landscape painting),
Victor (1813-1888; born in Puy; pupil of Ingres; exhibited in the 1840s at the Salon; received in 1845 a 3rd class medal in history painting and again in 1857),
Léo-Paul (1851-1923; Swiss; son of Aurèle; Symbolist),
Note: Artnet mentions lithographs made after Leon Paul Joseph Robert by Eugène Rambert, titled ‘Les Oiseaux and la nature, Lausanne, 3-vol (60)’ (iR13), but these were made by Léo-Paul Robert (iR6).
Paul (1857-1925; born in Paris; exhibited in 1874 at the Salon; connections with Degas and Raffaëlli; painted in the line of Ingres),
Théophile (1879-1954; son of Léo-Paul).
La Gazette (1870/04) also mentioned: a Robert living at Clermont-Ferrand;
Alexandre (a Belgian, born in Trazegnies, than living 44, Rue du Commerce in Brussels; pupil of M. Navez; received in 1855 a 3rd class medal in portrait painting);
Annet-Pierre (born in Turenne, living 49, Rue de Lille, Paris; pupil of Alaux);
Charles-Jules (born in Chartres, living 14, Rue Durantin, Paris; pupil at the École des Beaux-Arts and of M. Chapon; painter and engraver on wood);
Charlemagne (born in Corbeil (Seine-et-Oise); living at 7, Rue Duperré, Paris; pupil of Picot);
Eugène (born in Paris; living at 16, Rue Bichat, Paris; pupil of M. Lequien) (R259).
Wikipedia (iR3) and WikiData (iR66) only mention a ‘Louis Léopold Robert‘ being a Swiss painter (1794-1835; see R9).
A nephew of him, Léo-Paul Robert (1851-1923/4; see R9) also was a painter (aR2).
At auction sites there is also a Belgian painter mentioned with the name ‘Leopold Robert‘ who was born in 1850 and died in 1935 (iR11; iR16; iR41; compare R9). Works known of him are a self-portrait, harbour scènes in Cannes and a work titled ‘pleading to the virgin Marie’.
Auction sites also mention a ‘Léon Paul Joseph Robert‘ using the same information as the Getty Institute gives (iR12; iR13, iR16; iR41; iR45). Blouin also mentions an oil painting with the title ‘Mediterranean coastal landscape with sailing boats’ (41x51cm) dated 1922, which would mean our Robert was still alive at the age of 73 (iR12); it was auctioned 1990/11/24 in Munich. I think it more likely this work belonged to Léo-Paul (1851-1923) or Paul (1857-1925) as mentioned in Schurr & Cabanne (R9,p626/7).
In May 1884 there was a Léon Robert, a Frenchman, living in Marlotte (Seine-et-Marne), exhibiting at the Groupe des Artistes Indépendants, showing a landscape called ‘Sous-bois’ (iR40).
All this makes it hard and important to discern who is who and what painting belongs to whom.
Sources:
Most sources hardly render information on Robert. Adler even leaves him out of her index of names (R89,p128). My main sources are Moffett (1986=R2), Berson (1996=R90), Walther (2013=R3,p692), Schurr & Cabanne (2008=R9,p626), Dayez / Adhémar (1874=R87,p253), Monneret (1878-81=R88I,p764), Rewald (1873=R1,p316+336), Spiess (1992=R16,p371), Patry/Robbins (2024=R410,p101+108), Rewald (1955=R415,p360-368) and the Salon database (iR1), WikiPedia (iR4). For other general references (=R) see. For other references to internet sites (=iR) see. For other additional references (=aR) see below. See links for practical hints and abbreviations and for the subscription of the paintings.
Additional references (=aR):
- vanished French Impressionists (article also about Robert; =iR35)
- www.maisonrobert.ch (gyneacology of family, also painters)
- gallica.bnf.fr//bpt6k1244403m (1888/01/23 Hôtel Drouot sale with 1 work of a ‘Robert’: no.84, Bords de Marne, fusain; =iR40)
- archive.org//1876 (Collection de feu de Ed. L. Jacobson de la Haye with 1 work of a Léopold Robert, no. 66, étude de femme romaine, 35x26cm; it is unsure which Robert made this study of Roman woman =iR19)
- pictures rendered to me by others.
Recommanded citation: “Impressionism: Léon-Paul-Joseph (Léopold) Robert, a vanished partaker of the 1st ‘impressionist’ exposition in 1874, with a common name. Last modified 2024/10/06. https://www.impressionism.nl/robert-leon-paul-joseph/.”